Cultural surveillance in the algorithmic sociality: The evolution of humanistic myth and technological myth in the post-coronavirus world

Abstract

This analysis studies the development of Walter Benjamin’s aestheticization of politics, Debold’s culture of spectacle, Michel Foucault’s regulatory power, and outlines their key characteristics in the course of post-coronavirus art world. Taken together, it examines the totalitarian and collective cohesiveness of arts reproduction in the digital spatiality, and argues that there is the continuing cultural surveillance to shape aesthetic communication, in its evolution from celluloid resurrection to streaming media. It evaluates some consequences of cultural classification struggle, and arts mediocrity have been taken up and developed in the power circuit of media agencies.